관광학의 궁극적 관심과 제언

손대현,Son, Dae-Hyeon 한국대학교육협의회 1987 大學敎育 Vol.29 No.-

광역학 치료후 발생한 원형의 맥락망막위축 1예

손대현,조성원,김순현.Dae-Hyun Son. M.D.. Sung-Won Cho. M.D.. Soon-Hyun Kim. M.D. 대한안과학회 2005 대한안과학회지 Vol.46 No.7

Purpose: To report a case of chorioretinal atrophy after photodynamic therapy to subfoveal choroidal neovascular membrane. Methods: We followed up the photodynamic treatment to a 57-year-old woman who complained of the falling of vision in her right eye for 2 months and was diagnosed with subfoveal choroidal neovascular membrane at our institution. Since the size of neovascular membrane increased 3 month after the first photodynamic treatment, the patient underwent retreatment. Concentric chorioretinal atrophy developed around the laser applied site 3 months after retreatment, and enlargement of the atrophy area occurred 2 years later. In multifocal electroretinography, the retinal function of the chorioretinal atrophic eye was not decreased compared with the other eye. Results: The choroids collateral circulation damage or direct drug photochemical effect was thought to be the cause of the chorioretinal atrophy after photodynamic treatment at the laser applied site but there is no functional decline of the atrophic retina.

초한전쟁 관련 문학의 동아시아적 변이 양상 연구

손대현(Daehyun Son) 한국문화융합학회 2022 문화와 융합 Vol.44 No.6

본고는 중국의 경극 <패왕별희>, 한국의 정재 <항장무>, 일본의 노 <항우>를 중심으로 초한간의 전쟁이 중국과 한국, 일본의 가무극에서 어떻게 형상화되고 변이되었는가를 살펴보고자 하였다. <패왕별희>는 9장으로 구분되어 있으며, 초한간의 전쟁 중 마지막 전투라 할 수 있는 사면초가를 중심으로 구성되어 있다. 그리고 정연한 인과 관계를 이루면서 사건이 전개되고, 그 서술 또한 매우 상세하다. 이를 통해 <패왕별희>는 사면초가의 서사적 재현을 통해 항우와 우희의 사랑과 죽음이 형상화되어 있다. <항장무>는 장의 구분이 없으나 3개의 단락으로 구분할 수 있으며, 홍문연에서 이루어지는 항우와 유방의 대결을 중심으로 구성되어 있다. 군례와 검무를 통해 장엄함과 권위가 드러나 있으며, 홍문연의 극적 재현을 통해 충신연주지사가 형상화되어있다. <항우>는 장의 구분이 없으나, 형식상 3개의 단락으로 구분할 수 있다. 그리고 비현실적 인물의 회상과 정서를 중심으로 인생의 무상함과 슬픔이 부각되고 있으며, 불교적 세계에 대한 귀의를 통해 이를 극복하고자 하였다. 따라서 <항우>는 초한전쟁 사후의 재현을 통해 삶의 허무가 형상화되어 있다. 그런데 <패왕별희>는 사건의 전개와 서술의 양상이 항우와 우희의 사랑과 죽음으로 귀결되어 있어 비장미가, <항장무>는 행사의 위엄과 충신연주지사의 내용이 극적으로 드러나 있어 우아미가, <항우>는 절제된 음악과 인물의 대사 및 노래를 통해 삶의 허무와 불교적 세계로의 귀의가 절제된 표현과 상징으로 아름답게 형상화되어 있어숭고미가 강화되어 있다. 결국 초한간의 전쟁과 관련한 한 중 일의 가무극 작품들은 자국의 문학적 자산과 미감을 활용하여 특색있는문학으로 형상화된 것이라 할 수 있다. This paper attempted to examine how the war between Cho and Han was embodied and modified in the Chinese, Korean, and Japanese musical dance drama by focusing on the Chinese Peking Opera “Paewangbyulhee (Farewell My Concubine),” Korean Jeongjae “Hanjangmu” and Japanese Noh “Hangwoo.”. Peking Opera “Paewangbyulhee” is divided into nine chapters, mainly composed of the last battle of the War between Cho and Han, which is also described as the song of surrounded by enemies on all four sides. The events unfold in an orderly causal relationship, and the description is also very detailed. Through this incident, “Paewangbyulhee” depicts the love and death of Xiang-Yu and Yuji through the narrative reproduction of the song surrounded by enemies on all four sides. Royal Court public performance “Hangjangmu” has no chapter but it can be divided into three paragraphs, mainly composed of the confrontation between Xiang-Yu and Liu Bang in the Hongmunyeon feast. Also, the performance of Xiang-yu and Liu-bang’s vassals, who want to kill or protect, is centered on the sword dance. Therefore, “Hangjangmu” embodies the image of a loyal subject to loves and respects his king through the dramatic reproduction of the Hongmunyeon feast. There is no chapter division in Noh “Hangwoo,” but it can be divided into three paragraphs in terms of form. Life's uncertainty and sadness are constantly emphasized, centered on the reminiscences and emotions of unrealistic characters, and it tried to overcome by returning to the Buddhist world. Therefore, “Hangwoo” embodies the emptiness of life through the representation of the Cho-Han post-war. However, “Paewangbyulhee” emphasizes the love and death of Xiang-yu and Yu-ji, so the tragic beauty is strengthened, and “Hangjangmu” has strengthened elegant beauty by dramatically revealing the content of the character being congratulated, the dignity of the royal family and the content related to the loyal subjects to love and respect his king. In “Hangwoo,” the sublime beauty is strengthened by embodying the emptiness of life and returning to the Buddhist world through restrained music, characters dialogues, and songs. In the end, it can be said that the musical dance drama works of Korea, China, and Japan related to the war between Cho and Han embody distinctive literature by utilizing their literary assets and sense of beauty.

<분통가>에 나타난 역대 인물 서술의 양상과 그 의미 - <역대가>와의 비교를 중심으로 -

손대현 ( Son Dae-hyun ) 한국시가학회 2022 韓國 詩歌硏究 Vol.55 No.-

본고는 <분통가>에서 드러나는 역대 인물에 대한 서술이 어떻게 이루어지고 있으며 그 의미가 무엇인가를 해명하고자 <역대가>와의 비교를 중심으로 고찰하였다. <분통가>에서는 삼국시대부터 당대에 이르기까지 우리의 역사에서 영웅적 활약을 펼친 인물들이 언급되고 있으며, 이들은 거의 절대적 다수가 외적에 대항하거나 그 과정에서 업적을 이루었다. 이에 비해 <역대가>에서는 고조선의 건국에서부터 고려시대까지 우리의 역사에서 활약한 인물들이 고르게 언급되고 있으며, 각 국가의 발전 과정과 주요 문물 등도 서술되어 있다. 이를 보면 <분통가>는 외적을 격퇴하거나 거부한 인물들을 중심으로 서술되어 있어 당대의 현실이 강하게 반영되어 있다. 또한 현실주의를 기반으로 하되 미래 세대인 청년학도를 대상으로 창작되었다. 이에 비해 <역대가>는 역대의 전개와 발전 과정을 포괄적으로 드러내고자 한 작품이며, 조선후기까지의 현실이 반영되어 있다. 또한 소중화주의를 기반으로 창작되어 역사를 알지 못하는 일반인들 및 학습 과정에 있는 초심자를 대상으로 창작되었다. This paper attempted to examine < Buntongga > through a comparative analysis with < Yeugdaega > and explains how historical figures’ descriptions are made and their significance. People who played a heroic role in Korean history from the Three Kingdoms period to their lifetime are mentioned in < Buntongga >, and most of them have either resisted the external enemies or accomplished achievements in that process. On the other hand, people who played an active role in our history from the founding of Gojoseon to the Goryeo period are mentioned in < Yeugaega >, and the development process of each state and their major cultures are also described in it. This explains that < Buntongga > is described as centering on those who repel or reject external enemies, and the reality of the time is strongly reflected in this work. In addition, this was composed based on realism style, however, for the future generations of youth students. On the other hand, < Yeugdaega > is a work that aims to comprehensively reveal the progress and development process of many generations, reflecting reality until the late Joseon period. Moreover, this work was created based on Joseon-Chinese and was created for the general public who do not know the history and very beginners in their learning process.

유성기음반 소재 장한몽가와 영화극 장한몽의 존재 양상과 문학적 의미

손대현 ( Son Dae-hyun ) 한국시가학회 2020 韓國 詩歌硏究 Vol.51 No.-

본고는 유성기음반 소재 장한몽가와 영화극 장한몽의 제모습과 문학적 의미를 구명하고자 하였다. 유성기음반 소재 장한몽가 및 영화극 장한몽에는 이수일과 심순애가 대동강변에서 이별하는 장면이 형상화되어 있다. 장한몽가는 일본의 창가 금색야차의 가사를 직역한 노래와 금색야차의 가사를 변형하여 확대한 노래, 새로운 창작 가사로 변개한 노래로 구분할 수 있는데 여성의 발화를 강화하거나 남녀의 발화를 구분하되 가사의 양을 대등하게 함으로써 온전한 연애담이 될 수 있도록 하였다. 이에 비해 영화극 장한몽은 장한몽의 서사와 일치하는 작품과 이를 변형하여 희극화하고 있는 작품으로 구분할 수 있는데 희극성이 강화되는 방향으로의 변이가 이루어졌다. 유성기음반 소재 장한몽가와 영화극 장한몽은 이러한 변화를 통해 소설이나 연극과는 다른 독자적인 형식과 내용으로 변화하였으며, 이를 통해 새로운 내용과 미감을 창출함으로써 오랫동안 향유될 수 있었다. 그리고 소설이나 연극과 절연된 개별 작품으로 소비됨으로써 작품의 정체성을 확보하는 방향으로 변이되었다. This paper sheds light on the various aspects and literary significance of Janghanmongga and Janghanmong as kino drama in phonograph records. In these works, only the scene where Lee Soo-il and Shim Soon-ae parted on the Daedong riverside has been represented. There are three layers of Janghanmongga: first, it can refer to a direct translation of the Japanese changga Konzikiyashya; second, a song wherein lyrics of Konzikiyashya was modified and expanded; and third, an entirely new lyrics. In these songs, either women’s utterances are emphasized, or men’s and women’s utterances are distinguished but given equal weight to make a complete love story. As a result of the changes mentioned above, the Janghanmong works for phonograph records have acquired a form and contents of their own, different from novels and plays. Therefore, their enjoyment has long persisted throughout time. And by being consumed as a separate works isolated from novels or plays, it changed in the direction of securing the identity of the work.

나전칠기 전통문양의 시대별 흐름과 현대화

손대현(Son Dae Hyun) 아시아민족조형학회 2015 아시아민족조형학보 Vol.15 No.-

Lacquerware inlaid with mother-of-pearl, in which the identity and aesthetic sensibility of the Korean race is embodied intact, is the representative traditional craftwork of our nation that has been continuing for several thousand years. Characteristic patterns and techniques developed in each era, arriving at today. Development was attained around the arabesque pattern during the Goryeo era, which was extremely elaborate and delicate. The hawksbill painting method, turtle shaped door and thin-slicing technique in a geometrical pattern was used together. During the early part of Joseon, attempts to create blanks based on a looser and freer style based on the tradition of Goryeo could be seen. During the middle part of Joseon, patterns of plants and birds and flowers, such as apricot flowers, orchids, chrysanthemums, bamboos, and grapes, having a Korean sentiment which were non-existent during the early part of Joseon, newly appeared. During the latter part of Joseon, various patterns such as the ten traditional symbols of longevity, couple crane and mythical peach, seven treasures, bats, dragons, and letters of longevity and luck, reflecting the taste of various people appeared. Geometric patterns or scenery patterns in a realistic style appeared by the development of the thin-slicing technique. In the modern era, Jeon Seong-gyu introduced wire saws, which gave rise to the rapid development of wrinkles, and as to reflect the various demands, large-sized lacquerware inlaid with mother-of-pearl furniture, such as drawers and chests, appeared. The characteristics of the contemporary era shows a mix and development of various designs that were used from the Goryeo period to the modern period with a distinct character by the selection of individual authors, rather than showing an appearance of a completely new pattern. For the modernization of lacquerware inlaid with mother-of-pearl, there is a need to develop props needed in daily life to draw out the interests and consumption of the public. Partially applying the traditional design would be extremely effective. In addition, development of various materials enabling natural lacquer that allows to attach mother-of-pearl would be needed. Various attempts and convergence, such as with metal, synthetic resin, or porcelain, is needed instead of simply decorating mother-of-pearls and lacquering lumber.

『沂洛編芳』 소재 용화동범(龍華同泛) 관련 작품의 존재 양상과 그 의미

손대현(Son, Dae-Hyun) 한국어문학회 2021 語文學 Vol.- No.154

본고는 용화동범과 관련된 작품의 존재 양상과 의미를 고찰하고자 하였다. 인명록인 〈용화산하동범록〉에는 용화동범이 정구를 중심으로 이루어졌으며, 기록되어 있는 선비들은 정구와 인연이 있다는 점이 드러나 있다. 또한 〈용화산하동범지도〉에는 용화동범의 과정과 모습이 시와 회화를 통해 사실적 또는 비유적으로 표현되어 있다. 따라서 〈용화산하동범록〉과 〈용화산하동범지도〉는 용화동범의 모습과 사회적 의미가 드러나 있어 상보적 관계에 있다. 그런데 용화동범은 정구의 개인적 용무로 이루어졌으며, 〈용화산하동범록〉은 『기락편방』의 편찬 전까지 제대로 전승되지도 못하였으며, 전적의 형태로 간행되지도 못하였다. 또한 곽제우는 정구를 중심으로 이루어지는 용화동범을 탐탁치 않아하였다. 이러한 모습은 정구의 문인들이 철저한 계획하에 행사를 진행하고, 수 차례 수정 및 보완을 거쳐 〈봉산욕행록〉을 완성한 봉산욕행과 대비된다. 따라서 용화동범은 봉산욕행과 동일한 성격으로 파악해서는 곤란하며, 참가자들이 정구 또는 한강학파와 좋은 관계를 맺고자 이루어진 단발성 행사로, 후일 한강학파의 외연 확대를 이루는 하나의 계기가 되었다고 할 수 있다. This paper intends to examine the existence and meaning of works related to Yonghwadongbeom. It is revealed in 〈Yonghwasanhadongbeomrok〉 directory that Yonghwadongbeom was centered around Joeong Gu and the recorded scholars had a relationship with Jeong Gu. Moreover, the process and appearance of Yonghwadongbeom are expressed realistically or figuratively through poetry and painting in 〈Yonghwasanhadongbeomrok〉. Therefore, 〈Yonghwasanhadongbeomrok〉 and 〈Yonghwasanhadongbeomjido〉 have a complementary relationship as they reveal the aspect and social meaning of Yonghwadongbeom. However, Yonghwadongbeom was made for Jeong Gu’s personal affairs, and 〈Yonghwasanhadongbeomrok〉 was not transmitted properly until the compilation of 『Girakpyeonbang』, nor was it published in the complete form of a record. In addition, Kwak Jewoo did not like Yonghwadongbeom as it is centered on Jeong Gu. This is how Jeong Gu’s scholars conducted the event under a thorough plan and it contrasts with Bongsanyokheng which completed 〈Bongsanyokhengrok〉 after several revisions and corrections. Therefore, it is difficult to accept that Yonghwadongbeom and Bongsanyokheng have same nature, and it was an event where participants wanted to build a good relationship with Jeong Gu or Hangang School of Thought, and it could be said that it was an opportunity to expand the boundaries of Hangang School of Thought in the later days.

<昭君出塞圖>의 전래와 제화시의 양상

손대현(Son, Dae-hyun) 한국어문학회 2014 語文學 Vol.0 No.123

In this study, we are to reveal how <Sogunchulsaedo> on Wangsogun’s cross-border marriage has been handed down from China to Korea and the aspects of related painting poetry were. <Sogunchulsaedo> has been a material for paintings since the Northern Song and can be classified into paintings focusing only on cross-border marriage and paintings focusing on life after cross-border marriage. Since Korea has regarded Chinese writers and their works as the literary standard, Sogunchulsaedo is also likely to have been handed down from early and it can be identified through actual paintings and painting poetry. The most prominent feature of painting poetry related to Sogunchulsaedo is the remarkable description on the cross-border marriage scene. This can be characterized by the feature that the painting depicting cross-border marriage is directly poetized. The next feature is that deep sympathy on Wangsogun’s circumstances is expressed. Loyalty and fidelity for Han shown by Wangsogun lie in this sympathy. Deeply sympathizing with Wangsogun in political upheaval and ups and downs, noblemen have recognized Wangsogun as the symbol similar to them. Third, description recognizing Wangsogun as a being who lost her fidelity and criticizing her was not made. It can be said that this is because Wangsogun’s cross-border marriage has been recognized as loyalty for Han and the painting expressing sorrow and pain through cross-border marriage has been directly faced in Korea. Wangsogun related stories have been varied and handed down until modern times. Therefore, as a clue to explain the various aspects of Wangsogun related inheritance, this study can be said to be significant in terms of the exchange of Korea-China literature.

노계 박인로의 경제적 기반과 문학적 형상화

손대현 ( Dae Hyun Son ) 한국시가학회 2010 韓國 詩歌硏究 Vol.29 No.-

작가의 경제적 기반과 생애는 작품의 해석과 문학적 성과를 해명하는 가장 기초적인 작업이요, 중요한 토대라 할 수 있다. 노계 박인로의 경제적 기반에 관한 최근의 논란이 중요한 의미를 지니는 것도 이러한 이유 때문이다. 본 논문은 노계 박인로의 문학을 해석하고 그 성과를 해명하기 위해 그의 경제적 기반을 해명하고 이를 어떻게 형상화하였는가를 고찰하자 하였다. 행장을 중심으로 논란이 되고 있는 여러 사항들을 점검한 결과 노계는 성장기에는 어느 정도의 재산을 소유하고 있었으나 점차 사정이 안 좋아져 말년에 이르러서는 끼니를 걱정 해야 하는 향반으로 볼 수 있다. 또한 관직생활을 마감하고 향촌으로 돌아온 이후에는 유력 사족 및 거유들과의 유대 강화와 유학에의 침잠을 통해 한미한 처지와 경제적 궁핍의 문제를 해결하고자 하였으나 사후 도계사우 건립과 향사 논의를 통해 비로소 향촌의 존경 할 만한 인물로 인정받게 된 것으로 볼 수 있다. 노계의 작품에서는 가난한 삶의 모습과 유학적 이상을 추구하는 모습이 형상화되고 있으며 이러한 두 측면이 한 작품에서 동시에 드러나고 있기도 하다. 이는 한미한 처지와 빈약한 경제적 기반으로 인해 현실의 완강한 힘을 끊임없이 느껴 왔으며 유학적 세계에 대한 몰입을 통해 향촌의 유력 사족으로 인정받고자 했기 때문이라 할 수 있다. 그러나 이러한 경향에도 불구하고 노계의 문학에서는 관념적 성향이 두드러지고 있는데 이는 유학적 세계에 대한 지향을 통해 현실을 극복하고자 하는 작품의 구조와 더불어 당대 유력 사족들과의 만남을 통해 작품을 창작하였으며 궁고지상의 내용을 삭제하거나 완곡한 표현으로 수정한 『노계집』의 편찬 과정 때문으로 볼 수 있다. 노계는 조선시대를 통틀어 가장 혼란한 시기를 살아간 사람이며 한미한 처지와 경제적 곤란 속에서도 당대 현실을 예술적으로 형상화하고 있다는 점에서 노계 문학을 재평가하여야 할 것이다. 따라서 체제 순응적이고 보수적인 면 또한 전대 사족들의 그것과는 달리 이해하여야 할 것이며 그의 작품에서 서술되고 있는 피폐한 현실의 모습을 더욱 정치하게 살핌으로써 노계 문학의 성과와 문학사적 의미를 올바르게 구명하여야 할 것이다. Clarifying an author`s economical situation and his or her lifetime is the most important task and can reflect one`s work along with literary outcomes. This is why recent criticism of Nogye(蘆溪) Park In-ro(朴仁老)`s economical situation have became important. This thesis will consider explanation of Nogye Park In-ro`s economical situation and how he formed it to explain and clarify his literary results. By examining the various criticized cases of his biography, his economical situation, which can be told properties, were not too poor in his period of growth but it eventually gone to bad situation that he couldn`t even have a meal. Furthermore, withdrawing from his government officer service, he went back to the country side and tried to ease his destitutioning economical situation by forming a close bond with the influential sajok(士族) and some learned confucianists, but instead, erection of Dogyesawoo(道溪祠宇) and debates of a memorial service(鄕祀) made him an honorable person in the village. The impoverished life and pursuit of idealistic confucianism are formed in Nogye`s works, and these characteristic can be seen in one literary work. The reason is that his economical situation made him to face the reality consistently and wanted to be recognized as an influential person by immersing confucianism. Despite of these characteristic tendency of Nogye`s literary, his works are quite more idealistic. This is due to his intention to confucianism which will overcome practical issues and creating works through gathering with influential sajok, along with expurgating bad circumstances contents and the process of Nogyejip(蘆溪集) editing which made the literature express indirectly. Nogye had lived in the most disordered period throughout the Cho-Sun Dynasty along with his poor economical situation. Despite of there reasons, his literary should be reassessed because it had formed the reality in a very artistic way. Therefore, his adaptation to the system and conservativeness should be comprehended differently from the sajok`s. Moreover, the impoverished conditions appearance of reality, descript in his literary works, should be examined in a stationing way to rightly establish Nogye`s literary outcomes and the history of literature.

채문희 관련 문학적 형상화와 그 의미

손대현(Son, Dae-hyun) 국어국문학회 2013 국어국문학 Vol.- No.164

The purpose of this study is to explain an aspect of the literary figuration for poetry and painting poetry related to Chea-munhee(蔡文姬) and its meanings by comparing it with the literary works connected with Wang-Sokun(王昭君). The paintings related to Chea-munhee were actively painted from the North-Song period in China. The reasons were that the pain caused by other nations was becoming visible as Kum"s menace were threatened, and that the paintings about Chea-munhee related to return of the Empress Dowager - Wee(韋太后) were started actively painted as the Royal of North-Song patronized production of paintings directly. We can recognize that with these impacts, the paintings connected with Chea-munhee were enjoyed in Korea. In Korean literature, Chea-munhee have frequently been compared to a daughter left alone without siblings, and have been described as a woman who was kidnapped by Hiong Nu and passed over the border or who was suffered after passing over the border, and who nevertheless was kept loyalty to Han, and who was lost her chastity. By the way, the painting poetry connected with Chea-munhee is rare but the painting poetry connected with Wang-Sokun is numerous, and this tendency is increased when it is expanded to poemes. Because Chea-munhee had issues on serving only one husband and her morality. And as Wang-Sokun was discribed as a woman who kept loyalty to Han and endured the pain, Korean poet created more poemes connected with Wang-Sokun. But as the literary figuration connected with Chea-munhee were made up of various subjects, we don"t have to think that the literary figuration connected with Chea-munhee have been characterized losing her chastity.